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JAZZ ROCK/FUSION

A Progressive Rock Sub-genre


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Jazz Rock/Fusion definition


  1. Jazz Fusion is jazz that is strongly influenced by other styles of music. Jazz fusion is an ambiguous term that provides the first level sub-set down from Jazz. Jazz rock is a sub-sub set from jazz via jazz fusion. The ambiguity comes from an American tendency through the 90's and until now, to freely interchange jazz rock and jazz fusion, when in fact the latter term covers most hybrids of jazz fused with other forms of music. The roots of jazz rock can be traced back to RnB influenced soul-jazz artists such as Les McCann, Grant Green and Jimmy Smith, and young British jazzers such as Graham Bond, Ginger Baker, John McLaughlin, Jack Bruce, Georgie Fame, who were forced to use electronic instruments because the local club's acoustic instruments were reserved for the older established jazz musicians. Probably the first jazz artists that released recordings that mixed modern rock (circa 60s) with jazz were Larry Coryell, Jeremy Steig, Charles Lloyd, The Soft Machine, and The (Jazz) Crusaders. Meanwhile rock artists such as Cream, Grateful Dead and The Jimi Hendrix Experience were getting a lot of publicity and fame with their lengthy improvisations based on blues, rock, psychedelia and some jazz. These rock artists had an impact on Miles Davis who generated a lot of media attention to this new jazz-rock genre with his Bitches Brew album. From there the genre grew and exploded into numerous different directions. One of these directions was brass rock as exemplified by bands like Dreams, Chicago, BS&T and If. These bands combined elements of jazz, rock and classical music with arrangements for brass and woodwinds.

  2. Many other styles of music have been combined with jazz to create fusion including traditional music from around the world, R'n'B, rock, electronic music and pop music and jazz from Africa, Latin America, India and other places. One of the earliest examples of the use of the term fusion comes from the Indo-jazz fusion of Joe Harriott and John Mayer. Some of the more popular early practitioners of fusion included Weather Report and Herbie Hancock's Sextant. A few years later Shakti appears on the scene and expands the boundaries of fusion further, foreshadowing the World Fusion movement of the 90's.

  3. In part Nu.jazz grew out of the British acid jazz scene of the late 80s and early 90s, whilst modern leaders of nu.fusion cite Miles Davis and Jon Hassell as the godfathers of the genre. As the genre began to develop it took on other influences such as world beat/jazz fusion, psychedelic trip-hop, post-rock and mixtures of ambience with modern jazz. The jazz with electronia experiments that Jon Hassell was conducting in the late 80's, with the likes of Eno, were to be a major influence especially on the dance side of nu.jazz, sometimes known as nu.fusion. Three main elements make nu.jazz different from the more traditional jazz (rock) fusion. First of all there is less of an emphasis on instrumental virtuosity in nu.jazz (especially nu.fusion). Second, more use of electronics (especially skilled turntablism) and studio trickery that emphasizes sound textures. Third, nu.jazz tends to use more modern rhythms such as drum'n'bass, hip-hop, post-rock, and various mixtures of world beat rhythms. Progressive nu.jazz artists such as Bugge Wesseltoft, Nils Petter Molvaer and the Esbjörn Svensson Trio (E.S.T.), combine complicated compositions with modern rhythms to create new unheard of soundscapes - while the former two are leaders of nu.fusion, and with more emphasis on jazz playing, EST have been the leaders in straighter nu.jazz. Nu.jazz is loosely connected to other newer jazz fusion genres, particularly the more progressive live, jazz jam bands such as Medeski Martin & Wood or Garaj Mahal. It may seem that the only difference between the two genres is the country the artist is from or what scene they came up through.li>

Only the most progressive of nu jazz, jazz-rock and fusion artists are listed on Progarchives, although accceptability or not here may vary from person to person. All artists have elements of progressive rock in their music (e.g. Jean Luc Ponty, Bill Bruford or David Sancious) or they represent the most forward-looking and progressive element in their genre (e.g. Miles Davis, Herbie Hancock or Weather Report). It should be noted that those many Canterbury jazz rock fusion bands, e.g. Soft Machine, Soft Works, Soft Heap, Soft Machine Legacy, Gilgamesh etc. are to be found under the CANTERBURY heading in Prog Archives.

Dick Heath
John 'Easy Money'
Martin 'Alucard' Horst
(Edition 3.2. Nov 2009)

Current Team Members as at 12/24/14

Evolver (Scott)
Man With Hat (Phil)
Darkshade (Mike)
historian9

Jazz Rock/Fusion Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Jazz Rock/Fusion | More Top Prog lists and filters

4.36 | 859 ratings
KIND OF BLUE
Davis, Miles
4.33 | 1099 ratings
BIRDS OF FIRE
Mahavishnu Orchestra
4.32 | 591 ratings
IN A SILENT WAY
Davis, Miles
4.28 | 483 ratings
SPECTRUM
Cobham, Billy
4.45 | 70 ratings
THE COLOURS OF CHLOË
Weber, Eberhard
4.31 | 218 ratings
WE'LL TALK ABOUT IT LATER
Nucleus
4.30 | 237 ratings
HIROMI'S SONICBLOOM: TIME CONTROL
Uehara, Hiromi
4.27 | 553 ratings
ROMANTIC WARRIOR
Return To Forever
4.25 | 822 ratings
THE INNER MOUNTING FLAME
Mahavishnu Orchestra
4.34 | 124 ratings
STADACONÉ
Sloche
4.25 | 569 ratings
BITCHES BREW
Davis, Miles
4.24 | 689 ratings
ELEGANT GYPSY
Di Meola, Al
4.25 | 469 ratings
ABRAXAS
Santana
4.24 | 601 ratings
CARAVANSERAI
Santana
4.27 | 215 ratings
LES PORCHES
Maneige
4.30 | 131 ratings
A BENEFIT OF RADIM HLADÍK [AKA: MODRÝ EFEKT & RADIM HLADÍK]
Blue Effect (Modrý Efekt; M. Efekt)
4.28 | 133 ratings
MILESTONES
Davis, Miles
4.23 | 272 ratings
ENIGMATIC OCEAN
Ponty, Jean-Luc
4.29 | 109 ratings
SVěT HLEDAčů
Blue Effect (Modrý Efekt; M. Efekt)
4.25 | 171 ratings
MAIDEN VOYAGE
Hancock, Herbie
4.24 | 204 ratings
PAT METHENY GROUP: THE WAY UP
Metheny , Pat
4.23 | 268 ratings
CROSSINGS
Hancock, Herbie
4.36 | 65 ratings
L'AXE DU FOU
Forgas Band Phenomena
4.27 | 123 ratings
SVITANIE
Blue Effect (Modrý Efekt; M. Efekt)
4.21 | 323 ratings
VALENTYNE SUITE
Colosseum
4.24 | 166 ratings
TILT - IMMAGINI PER UN ORECCHIO
Arti e Mestieri
4.30 | 85 ratings
BIG FUN
Davis, Miles
4.41 | 46 ratings
FABULIS MIRABILIBUS DE BOMBYCOSI SCRIPTIS
Kenso
4.26 | 114 ratings
'ROUND ABOUT MIDNIGHT
Davis, Miles
4.40 | 47 ratings
QUALIA
Syrinx
4.68 | 22 ratings
REALIZATION
Henderson, Eddie
4.23 | 139 ratings
HARAKKA BIALOIPOKKU (AKA B THE MAGPIE)
Pohjola, Pekka
4.20 | 182 ratings
A TRIBUTE TO JACK JOHNSON
Davis, Miles
4.28 | 78 ratings
DARK SHOT
One Shot
4.49 | 32 ratings
TERJE RYPDAL
Rypdal, Terje
4.20 | 154 ratings
J'UN OEIL
Sloche
4.74 | 18 ratings
Вижу Землю / LOOKING AT THE EARTH
Gunesh Ensemble
4.25 | 86 ratings
DEDALUS
Dedalus
4.19 | 149 ratings
MYSTICAL ADVENTURES
Ponty, Jean-Luc
4.16 | 275 ratings
HYMN OF THE SEVENTH GALAXY
Return To Forever
4.32 | 52 ratings
LEB I SOL 2
Leb I Sol
4.21 | 102 ratings
MILES DAVIS QUINTET: MILES SMILES
Davis, Miles
4.17 | 163 ratings
WHAT IF
Dixie Dregs
4.16 | 197 ratings
WHERE HAVE I KNOWN YOU BEFORE
Return To Forever
4.20 | 103 ratings
PAT METHENY GROUP: OFFRAMP
Metheny , Pat
4.31 | 50 ratings
AGITOR LUCENS V
Arco Iris
4.31 | 50 ratings
EWAZ VADER
One Shot
4.37 | 39 ratings
SUDAMÉRICA O EL REGRESO A LA AURORA
Arco Iris
4.15 | 184 ratings
FAIRYPORT
Wigwam
4.14 | 228 ratings
AJA
Steely Dan
4.13 | 319 ratings
SANTANA
Santana
4.16 | 167 ratings
THE LOST TRIDENT SESSIONS
Mahavishnu Orchestra
4.25 | 64 ratings
ORGANIK
Niacin
4.50 | 25 ratings
THE HOOK
Tolonen, Jukka
4.27 | 54 ratings
DEDICATED TO YOU, BUT YOU WEREN'T LISTENING
Tippett Group, Keith
4.17 | 113 ratings
SECRET STORY
Metheny , Pat
4.22 | 70 ratings
ALMA DE DIAMANTE
Spinetta Jade
4.21 | 77 ratings
INDÍGENA
Mar de Robles
4.23 | 60 ratings
FERMÁTA
Fermáta
4.37 | 33 ratings
SPEAK NO EVIL
Shorter, Wayne
4.10 | 298 ratings
UNORTHODOX BEHAVIOUR
Brand X
4.20 | 74 ratings
SENTIMENTS
Iceberg
4.12 | 166 ratings
QUANTUM
Planet X
4.82 | 13 ratings
GUILLAUME PERRET & THE ELECTRIC EPIC
Guillaume Perret & the Electric Epic
4.44 | 26 ratings
ZENTUARY
Budjana, Dewa
4.17 | 93 ratings
PAT METHENY & LYLE MAYS: AS FALLS WICHITA, SO FALLS WICHITA FALLS
Metheny , Pat
4.13 | 149 ratings
SEXTANT
Hancock, Herbie
4.12 | 150 ratings
CHICAGO (AKA CHICAGO II)
Chicago
4.09 | 267 ratings
BRUFORD: ONE OF A KIND
Bruford, Bill
4.15 | 100 ratings
MILES DAVIS QUINTET: NEFERTITI
Davis, Miles
4.19 | 72 ratings
4TH
D.F.A.
4.28 | 44 ratings
CRNA DAMA
Smak
4.12 | 148 ratings
VISITATION
Pohjola, Pekka
4.22 | 56 ratings
RAHMANN
Rahmann
4.65 | 16 ratings
AD PERPETUUM
Fafard, Antoine
4.23 | 53 ratings
BELIEVE IT
Williams Lifetime, Tony
4.18 | 73 ratings
PIHKASILMÄ KAARNAKORVA
Pohjola, Pekka
4.32 | 35 ratings
UOMA
Uzva
4.09 | 213 ratings
BLOW BY BLOW
Beck, Jeff
4.25 | 46 ratings
YELLOW FIELDS
Weber, Eberhard
4.25 | 44 ratings
RUCNI RAD
Leb I Sol
4.42 | 25 ratings
SIMILARITY
Eyot
4.11 | 141 ratings
MASQUES
Brand X
4.16 | 78 ratings
LAMBERTLAND
Tasavallan Presidentti
4.21 | 55 ratings
OH YEAH!
Hammer, Jan
4.51 | 19 ratings
HALLUCINATION ENGINE
Material
4.22 | 48 ratings
LOS ELEMENTALES
Arco Iris
4.40 | 25 ratings
DIUMENGE
Companyia Elèctrica Dharma
4.12 | 104 ratings
HUASCARAN
Fermáta
4.11 | 107 ratings
EROTIC CAKES
Govan, Guthrie
4.18 | 59 ratings
VOLUME 1: CONTRE COURANT
Opus-5
4.07 | 224 ratings
MOROCCAN ROLL
Brand X
4.17 | 62 ratings
STRAIGHT TO THE KRANKENHAUS
Secret Oyster
4.10 | 119 ratings
METAL FATIGUE
Holdsworth, Allan
4.47 | 20 ratings
THE FOLLOWING MORNING
Weber, Eberhard
4.40 | 23 ratings
SLAV TO THE RHYTHM
Farmers Market
4.09 | 112 ratings
NI VENT... NI NOUVELLE
Maneige
4.14 | 72 ratings
KING CRIMSON SONGBOOK, VOLUME ONE
Crimson Jazz Trio
4.41 | 22 ratings
MUNDO FLOTANTE
Ontalva, Ángel
4.45 | 20 ratings
RITES
Garbarek, Jan

Jazz Rock/Fusion overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Jazz Rock/Fusion experts team

CRNA DAMA
Smak
HYPERTHALAMUS
Dennis
STRANGE MEETING
Power Tools
LOVE, LOVE
Priester, Julian

Latest Jazz Rock/Fusion Music Reviews


 Zentuary by BUDJANA, DEWA album cover Studio Album, 2016
4.46 | 25 ratings

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Zentuary
Dewa Budjana Jazz Rock/Fusion

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars For his tenth solo album Dewa signed with Steve Vai's label, and brought together a stellar group of musicians to realise his vision. Although this album was only a year after 'Hasta Karma' he has again completely switched things around, and none of those who were involved in the last album are involved with this one. His core band this time was Tony Levin (King Crimson, Peter Gabriel Stick Men), Gary Husband (John McLaughlin, Allan Holdsworth, Jack Bruce and others) and the incomparable Jack DeJonette (Keith Jarrett, Miles Davis). If that wasn't enough he then added some further guests in Guthrie Govan (The Aristocrats, Steve Wilson, GPS), Tim Garland (Chick Corea, Bill Bruford), Danny Markovich (Marbin) as well as some cameos from the Czech Symphony Orchestra as well as Indonesian musicians Saat Syah, Ubiet and Risa Saraswati. Given that amount of talent is it any surprise that they have combined to produce yet another stunning piece of work?

Dewa has a wonderfully fluid style that always reminds me of John McLaughlin, and although there are huge amounts of fusion within this album, it is also quite experimental, bringing in progressive sounds that wouldn't be out of place with keyboard pioneers like Vangelis as well as also bringing in local sounds and styles from Indonesia: it is fusion and progressive music in its truest sense. Some numbers, such as "Lake Tangengon" wear me out just by listening to them ? there is an amazing amount of work and styles being displayed in the melody lines, and then at the back of them all Jack is killing the kit. How he keeps it up throughout the whole song is beyond me. Just twelve songs on this double CD set, but the 100 minutes' pass by so quickly, and one must jerk oneself back into the real world at the end of it.

This is music that covers a great deal of musical areas, with multiple layers and threads, but it all combines into an incredible majestic whole. Yet again he has produced an album that is totally indispensable, essential, complex and challenging yet easy to listen to, and a sheer delight from the first note to the very last.

 Hasta Karma by BUDJANA, DEWA album cover Studio Album, 2015
4.16 | 35 ratings

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Hasta Karma
Dewa Budjana Jazz Rock/Fusion

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars One of the real joys of following the Moonjune career of Indonesian guitarist Dewa Budjana, is that one is never sure quite what to expect with each release, as he often changes the musicians he is playing with which has a direct impact on each album. This time he has brought in NYC vibraphonist, Joe Locke, and Pat Metheny Unity Group's bassist, Ben Williams, with drummer, Antonio Sanchez, and Indonesian keyboardist, Indra Lesmana. There are so many wonders and delights contained within this 2014 album that it is hard to know where to begin. In many ways Dewa has taken something of a back seat with this release, and it has a much stronger band feel than the others, as he shares the melody lead with Joe. I used to regularly see Poli Palmer (ex Family) play with Steve Waller (Manfred Mann's Earth Band) and his touch on vibraphones was great, but he never sounded anything like this! Gentle touches, or blistering speed, Joe can do it all and consequently is incredibly relaxed as there is nothing left for him to prove. This has allowed Dewa also to relax and just go with the flow, not always having to be the centre of attention. With Ben and Antonio playing their part to perfection, the result is a fusion album that is mind-blowing in just so many ways.

From the cover artwork of the digipak, through the sleeve notes of John Kelman, and then into the fifty-two minutes of the album itself, this is the complete package. If I had to pick one track to showcase the beauty of this majestic album, then it would have to be "Desember" where Dewa provides some stunningly quick runs, and then leaves the song for bars at a time to allow the rest of the guys to build new rhythms and melodies, returning when the moment is right. When it comes to modern instrumental jazz fusion then it simply doesn't get any better than this. Faultless.

 Yojo by YOJO album cover Studio Album, 2013
3.71 | 8 ratings

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Yojo
Yojo Jazz Rock/Fusion

Review by Modrigue
Prog Reviewer

4 stars Post-rock wearing the clothes of Jazz

A pterodactyl flying over a cloudy megalopolis... This surrealistic black and white cover picture suits the music very well: light and floating, classy and sober. YOJO's promising eponymous debut offers a fluent and clever mixture of post-rock atmospheres with cool jazz, plus a touch of heavy prog for the depressive mood. Instrumental, driven by the trumpet and supported by guitars, this hazy soundtrack well depicts impressions of loneliness and melancholy, the elegant way. Furthermore, the compositions are quite accessible and of constant quality.

The suave jazzy "Sundiver" is dark and enigmatic, like if you were wandering through a rainy city, looking at unknown faces. Then the track turns more dynamic. Beautiful! The mournful trumpet describes a desolated landscape all over the slow and changing "VHS", while the ethereal "Pterodactyl" is rather mystical with its raging and floating guitar. Magic! You'll be immersed into an ocean of despair hearing "Captain Kirk Had a Bad Day", and intrigued by a mysterious light through the smoky "Waltz"

Longest title of the album, "Alien" is also the strangest. From a spacey free-jazzy background, the music glows in the dark using changing rhythms and cool bass lines, reminding John Surman at times. Featuring a dialog from David Lynch's "Eraserhead", the gloomy "Aftermath" is quite pleasant, while the heavy progressive "Double Henry" is the rockiest passage of the disc. The ender, "Rough Sleeper", is divided in two sections. The first half is an atmospheric hazy ballad including samples from the monologue "How Should I Live, Angels?", written and narrated by Russian writer Mikhail Zhvanetsky. The second half turns more towards free jazz and contains this time a speech by Barack Obama. Enjoyable but too long and a little dissonant for my tastes.

YOJO's first effort is very convincing and promising. This elegant and clever arrangement of post-rock and heavy prog with jazz is really original and inventive. The perfect soundtrack for a lonely rainy day, looking down at the city and its swarming interlaced lives through the window, wondering, observing, feeling like a stranger who doesn't fit in... Finally, like the pterodactyl on the cover art...

A band to keep an eye on, very recommended to modern jazzscapes fans!

 Hey Carlos by TRIOXYDE album cover Studio Album, 2010
4.44 | 5 ratings

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Hey Carlos
Trioxyde Jazz Rock/Fusion

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars Over the last few years I have been playing a great deal of golden age of jazz, pre-war blues, and generally increasing my musical repertoire. I knew that this album was dedicated to Carlos Santana, so perhaps I shouldn't have been surprised that it was jazz rock with the lead guitar often taking the melody lines (this is instrumental), but I wasn't quite ready for the huge amount of blues and early Seventies influence that was also involved. I first played this in the car on a beautiful February summer's evening, and I was blown away by what I was hearing, as it was a perfect accompaniment to the vista I was seeing through my windscreen.

This is classic, and class, early Seventies jazz rock with almost as many stylings being borrowed from Peter Green's Fleetwood Mac as it is from Carlos himself. John McLaughlin can also be heard if you pay close attention, but this is not the dramatic speedy runs that one sometimes gets from fusion, but a band playing close attention to the placement and spacing of each note and the impact being driven from all of this. Drummer Charles Beauregard is a jazz man at heart, and can go from rim shots to complex rolls, or moving around the kit or dancing on the cymbals, whatever is the right way to provide the desired emphasis. Michel Mergaerts has a wonderfully warm and delicate approach to bass, so that while he can bang it in with the guitar he is often found playing a beautiful counter melody that adds a depth which allows the lead musicians to shine.

These are Dostaler William who not only provides piano but some wonderfully dated organ sounds, and J-F Girard on guitar. These two are normally the ones at the front, although they do allow the others to come through when the time is right, and the production provides clear space between the two of them. There is little in the way of over-dubbing, so the sound between the four of them is always clear and feels pure. It is a perfect album? Well, it is hard to say that anything is ever really perfect, but this is damn close. Damn close.

Over the years I have heard many of the releases from the great Canadian label Unicorn, and this is easily one of their very best. This is for those who want to hear great music taking influences from the best of jazz and the best of blues to produce something that is really quite special indeed.

 Live At Budokan by GILLAN BAND, IAN album cover Live, 1978
4.02 | 14 ratings

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Live At Budokan
Ian Gillan Band Jazz Rock/Fusion

Review by tvtennis

4 stars This is an interesting one, following his departure from the mighty Purple, uncle Gillan decided to get away from the harder edged rock, and try his luck with the more sophisticated "jazzy" approach. Most Gillan & Purple fans were cut a'bit off-guard with his venture into the fusion territory. After releasing "Child in Time" (1976); "Clear Air Turbulence" (1977) & "Scarabus" (1977). It was time to return to the famous venue and record a few shows. The latest incarnation of this release (2007) sports a total of 10 tracks. It features the full setlist including "My Baby Loves Me", which had been omitted from the previous releases.

As far as the performance is concerned, it is great! The recording quality, not so much. Even the re-issued version sounds a little muddy, but all in all worth a listen. Some of the most memorable moments for me personally are the somewhat longer, and shall we say "jazzier" versions of: "Money Lender", "Child In Time" but especially the Purple classic "Smoke On The Water" which clocks just under 10 minutes!

 Terre by JULIEN, JULIAN album cover Studio Album, 2000
3.63 | 14 ratings

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Terre
Julian Julien Jazz Rock/Fusion

Review by Modrigue
Prog Reviewer

4 stars Fusion from a parallel Earth

Have you ever wondered how the musical landscape will be if, centuries ago, someone had swap Earth's local populations' instruments with other populations'? Sonorities played by different cultures with their own approaches? For example, what music would have Eastern European nomads created if they were given Indonesian gamelans? What melodies based on pipes and Indian tablas would have musicians from the old Hausmannian Paris composed? Never thought of this question? Well, I had, and so certainly did multi-instrumentalist Julian Julien, as he - at least partially - brought pieces of a possible answer through his first studio opus.

As you understand, "Terre", the well-named, is not really a common jazz/rock or fusion album per se, and hardly resembles what's usually named by these genres. Fully instrumental, the music can be described as world/ethnic fusion, maybe post-fusion, yet accessible. Inspired by his various travels and influences, Julian Julien uses a wide range of instruments and sound effects for unusual purposes to weave harmonious and inventive ambiances. First fooled by exotic sonorities, the listener is brought from an unexpected place to another, then to both known and unknown lands, like on unconnected continents at the same time. The surprise factor is therefore kept intact at each listen.

"La grand-voile!" yells the sailor at the very beginning. Opening with an extract from the movie "L'île aux trésors", the title track is a tragic rhythmic violin-driven tune that can distantly remind another French multi-instrumentalist, Yann Tiersen. Completely different, "L'attente" carries well its name, as the xylophone and soft keyboards seem to suspend time. A little Javanese sounding, but with other incursions, this ethereal tracks is like a patchwork of impressions from South-Eastern Asia displayed through Philip Glass's prism. After an enigmatic and tablas pipes introduction, "Tupperware Et Bibelots" unveils a sad accordion and piano theme, turning from melancholic to frightening. You're wandering in the old 19th Century Paris, among boulevards and galleries of clowns. "Bencoleen Hotel" is located in Singapore, and also a short contemplative and dreamy Asian interlude, while the slowly evolving "Souquez" more resembles modal jazz. Through its interlaced piano and violin, you can sometimes hear few distant echoes from SOFT MACHINE. Really nice. The cheerful "Promenade" is charming and quite contrasts with the rest of the record.

Despite its name, "Degung" don't make usage of a gamelan, but of various gongs, keyboards and organs to recreate an impression of the proud Indonesian instrument, however this time for unexpected destinations. Alongside a sinuous cord melody, this tune will transport you for a mystical journey, to an unknown place somewhere between Hungary and Egypt! On the contrary, "Les Yeux" may be my least favorite passage of the disc. This jazzy minimalistic piano title accompanied by a slight electronic background is a bit lengthy. Don't be fooled by the childish opening of "Clémentine", its mysterious xylophone will make you lost your direction in some enigmatic labyrinth. "P'Tite Pêche" continues with the fruit thematic on a touching and melancholic tone. The record finishes with its longest track, "La Tombe Des Lucioles". Inspired by Isao Takahata's famous and beautiful anime "Le Tombeau des Lucioles" ("Grave of the Fireflies" in English), the instruments depict a desolated and chaotic landscape after the war bombing. You can barely hear the victims struggling for their survival... The last part suddenly accelerates. Certainly influenced by John Surman, this ender is simply shivering!

"Terre" is a genuine trip through several genres and places, between the dramatic and the enchanting, the modern and the ancient, the mystical and the melancholic, yet always remaining accessible and quite homogeneous in terms of quality. The album even gained a little success during its release. If you like to travel and enjoy unexpected musical mixtures, this first opus by Julian Julian will transport you to another lands. Very recommended!

15 years after, the artist will give a follow-up to "Terre", however this second volume will head towards a different planet...

 Kinesis by ACCORDO DEI CONTRARI album cover Studio Album, 2007
3.75 | 40 ratings

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Kinesis
Accordo Dei Contrari Jazz Rock/Fusion

Review by berkaal

3 stars The opening tune is exciting, "Lester" is a good song, well crafted, well played, with a hint of Brand X, a full 8/10, the only flaw is the quite amateurish sax solo near the end. But unfortunately the rest of the tracks lack inspiration and they don't have much to say, well played but with little substance. "Meghiste Kinesis" and "O.M." are 6.5/10, while the other three songs are just 6/10. It's a shame, the guys are very good players, with a special mention for the drummer, but their compositional skills are not up to their instrumental prowess, the album could have been much better.
 Shutdown  by STROMBOLI album cover Studio Album, 1989
2.58 | 14 ratings

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Shutdown
Stromboli Jazz Rock/Fusion

Review by b_olariu
Prog Reviewer

3 stars Despite their italian name Stromboli, they were and czech art rock - art pop (on their second album) band from mid to late'80s. Conducted by excellent guitarist Michal Pavlicek, a well known name aswell in jazz rock realm, he was part of Bohemia in late '70s, a top band from this country and from eastern Europe. Well, Stromboli on their second release from 1989 named Shutdown change the direction from previous album (was a prog jazz rock album) selftitled issued two years prior into more art rock, art pop elctro prog stuff, not bad at all, despite some negative reviews I saw here and there. I like it, is diverse but in same time compact, even suffers from that late '80s plastic production. A plus for me is the excellent voice of Bára Basiková, really great voice, a special track is the opening Abacus, - absolutly killer tune with a gothic atmosphere, one of my fav songs ever any genre, her voice shine all through. , the guitar parts are aswell top , Michal Pavlicek handle the guitar with an exemplary ease on every piece. Another highlights are Sandonorico and the title track. As I said I like this album quite much, is experimental is almost pop in places but without being comercial, is art prog and has all the elements for a good album. Considered their worse from the two, I think Shutdown desearves attention, even for prog listners. So, easely 3.5 stars for me,

 Seibo by YUUKAI KENCHIKU album cover Singles/EPs/Fan Club/Promo, 2017
3.95 | 2 ratings

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Seibo
Yuukai Kenchiku Jazz Rock/Fusion

Review by DamoXt7942
Forum & Site Admin Group RIO/Avant/Zeuhl & Neo Teams

4 stars As I've mentioned in my review for their live performance in January 2017, they can be called as one of brilliant Japanese jazz-based symphonic combos. This ep "Seibo" has been released as their first cry in 2017, and the stuff should notify us of their obvious innovation and growing-up intention to decent symphonic project. No complicated polyrhythmic / multirhythmic basis nor difficult melody line is needed but beautiful, delightful sound texture to our heartstrings should be beneath their appearance.

In this sense, we can hear their dramatic theatrical symphony fully via this ep. Basically their songs are created with images of nature or life upon the earth, and they play so "naturally" and "lively" enough for ones who are not familiar with them to get familiar more easily. The masterpiece in this creation "Death And The Sun" has definitely dynamic and energetic atmosphere where we can enjoy both metallic heaviness and completely harmonized sound brightness. Complex phrases are here and there but their passion to amaze the audience is quite magnificent and wholehearted. Deep and widespread sound world launched via their instruments and their inner space must be thought as the best of all of their eps, I'm sure.

The mysterious sleeve drawn by Raku, featuring the title written in seal script, is simple but quite fantastic and thoughtful indeed. Upon our recent discussion in the live space, the drummer Kei has emphasized that they keep developing themselves and adopting novel essence. This ep itself has really verified that they are always evolving. It's pleasure of the audience exactly, and let me say (as one of their fans) their sound line should be loved more and more by everyone from now on. Anyway we the fans are looking forward to their full-length album produced conceptually ... another hope.

 Smak by SMAK album cover Studio Album, 1975
3.38 | 26 ratings

BUY
Smak
Smak Jazz Rock/Fusion

Review by Orpheus-keys

3 stars Smak's s/t debut encompasses a wide range of variety. It is thoroughly ambitious in nature and it seethes with youthful enthuasism; - notably the track 'Perle' which kickstarts the album with a driving guitar theme led by Radomir Mihajlović "Točak", until the rest of the group join in and it becomes a mini-anthem with flashes of r'n'r ambience. Boris Aranđelović's style of singing is quite rowdy and extroverted; especially during brief outbreaks of falsetto which are a little bit too predominant in the mix, - allowing himself to become a little too exposed. Thankfully most of the record's shortcomings are somewhat endearing and it IS a stellar example of a record that gets better with every track. It has to be said from an objective direction that the group are stronger during the fusion- based moments, particularly the 19-minute closing track 'Put od Balona' which undergoes several exciting melodic themes, eccentric chord changes and soothing tempo changes whilst near-perpetually showcasing the remarkable talent of keyboardist Laza Ristovski and his lightning-speed organ chops, making it undoubtably the strongest track on the record and a must-listen for fans of ELP's 'Tarkus' and Focus's 'Eruption', - the latter being a stronger candidate in terms of structure-comparison. 'Biska 2' is the other instrumental track on the album, a four-minute hard-rocker which captures the musicians at their most organized and melodically accessible which should be instantly appealing for fans of guitar / synth interplay. In fact, the whole record should be very enthralling for guitar enthuaists; - Radomir Mihajlović in his heydey was regularly cited as 'The Yugoslavian Hendrix', but as a modern observer it's fair to say he was perhaps more versatile as he's prone to switch from psychedelic riffage to extended Hendrix-esque blues solos whilst still retaining a degree of acoustic sensitivity when necessary. 'Blues u Parku' is a fine example of his ability as a guitarist but the overall structure of the song isn't very captivating in comparison to the others.
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